Liverpool’s The Cryin’ Shames were responsible for two of mid-Sixties Britain’s most striking single’s tracks. The February 1966 top side “Please Stay” was so eerie, so wraithlike it came across as an attempt to channel the experience of making successful contact with a spirit presence. “Come on Back,” an unpolished September 1966 B-side, could pass for US garage punk at its most paint-peeling.

Late summer 1966. Jazz was Margo Guryan’s thing. She was not interested in pop music. This changed when she was played The Beach Boys’s “God Only Knows.” Amazed by what she heard, she tuned in to pop radio for the first time. Her head was further turned by The Beatles and The Mamas & the Papas. A copy of “God Only Knows’s” parent album Pet Sounds was bought.

“Moving Away from the Pulsebeat” is the final track – barring the locked-groove return of the two-note guitar refrain from “Boredom” – of Buzzcocks’ March 1978 debut album, Another Music In A Different Kitchen. At five minutes 40 seconds it didn’t cleave to the short, sharp punk template. Also, it was largely instrumental. And it had a drum solo.

“We hope if you like it, you'll buy it,” says Paul McCartney. It’s 4 April 1963 and The Beatles are on stage and about to perform their third single “From Me to You.” It’s out in a week.

To his left, John Lennon instantly responds to the entreaty. “And if you don't like it,” he retorts. “Don't buy it.”

Jon Savage's The Secret Public How The LGBTQ+ Aesthetic Shaped Pop Culture 1955-1979 accompanies the titular author/historian/journalist’s book of almost the same name. The Secret Public: How LGBTQ Resistance Shaped Popular Culture (1955–1979) and this 41-track double CD each track exactly what their titles say, drilling into what has often paralleled or underlain yet repeatedly influenced a constantly evolving mainstream.

Original pressings of Love And Poetry sell for up to £2,800. Copies of the August 1969 debut album by Andwellas Dream can sometimes also be found for £700, a relative bargain in the context of the upper limit of the prices the collector’s market has settled on.

The name, Caron and Michelle Maso explained to Los Angeles radio DJ Rodney Bingenheimer, was a literal description. “We’re both like five feet. We’re all grown up, but we’re still little.”

West Coast Consortium’s first single was July 1967’s “Some Other Someday,” a delightful slice of Mellotron-infused harmony pop which wasn’t too far from The Ivy League’s “Funny How Love Can be” and The Rockin’ Berries’ “He’s in Town” – each of which were hits in, respectively, 1965 and 1964. All three bands were on the Pye label and its associated imprint Piccadilly.

Edinburgh’s Rezillos were booked to play Middlesbrough’s Rock Garden on Wednesday 14 September 1977. “I Can’t Stand my Baby,” their debut single, had been issued in July and they were on the road subsequent to its release, positive music press reviews and regular spins from John Peel. Their humour-laced, Day-Glo art-punk was making waves.

Three years ago, the release of Till Another Time 1988-1996 generated a thumbs up. A compilation of recordings by the Baltimore and/or New York-based Linda Smith it was, according to this column, “stunning” and “significant.” Until this point, knowledge of Smith had “largely been the province of the do-it-yourself world of music.”